Social dimensions in island restoration: some case studies from Aotearoa – New Zealand

2021 ◽  
Author(s):  
Alan Saunders ◽  
David Towns ◽  
Keith Broome ◽  
Stephen Horn ◽  
Sue Neureuter ◽  
...  
Keyword(s):  
New Zealand ◽  
Case Studies ◽  
Social Dimensions ◽  
Island Restoration ◽  
Aotearoa New Zealand

scholarly journals Developing training for pioneer ministry in the Church of Scotland: Reflections on grounding pedagogy and lessons in practice from abroad

2019 ◽  
Vol 26 (2) ◽  
pp. 7-27
Author(s):  
Alexander Forsyth
Keyword(s):  
New Zealand ◽  
The Netherlands ◽  
Case Studies ◽  
Theological Education ◽  
Church Of Scotland ◽  
Aotearoa New Zealand ◽  
Historical Tradition ◽  
Training And Support ◽  
The Church

This article focusses on the formation and delivery of training and support for pioneer ministry in the Church of Scotland, by (i) reflecting on recent thinking on the place of theological education in enabling missional vocation; and (ii) presenting three case studies of approaches taken by denominations (in the Netherlands, Germany and Aotearoa New Zealand) which share a similar historical tradition with the Church of Scotland and which have seen similar trajectories of decline.

scholarly journals Natural monuments: rethinking arboreal heritage for twenty-first-century Aotearoa New Zealand

2021 ◽  
Author(s):  
◽  
Susette Goldsmith
Keyword(s):  
New Zealand ◽  
Case Studies ◽  
Evaluation Methods ◽  
First Century ◽  
Local Authorities ◽  
Aotearoa New Zealand ◽  
Twenty First Century ◽  
Critical Heritage ◽  
Heritage Discourse ◽  
New Zealanders

<p>The twenty-first century is imposing significant challenges on nature in general with the arrival of climate change, and on arboreal heritage in particular through pressures for building expansion. This thesis examines the notion of tree heritage in Aotearoa New Zealand at this current point in time and questions what it is, how it comes about, and what values, meanings and understandings and human and non-human forces are at its heart. While the acknowledgement of arboreal heritage can be regarded as the duty of all New Zealanders, its maintenance and protection are most often perceived to be the responsibility of local authorities and heritage practitioners. This study questions the validity of the evaluation methods currently employed in the tree heritage listing process, tree listing itself, and the efficacy of tree protection provisions. The thesis presents a multiple case study of discrete sites of arboreal heritage that are all associated with a single native tree species—karaka (Corynocarpus laevigatus). The focus of the case studies is not on the trees themselves, however, but on the ways in which the tree sites fill the heritage roles required of them entailing an examination of the complicated networks of trees, people, events, organisations, policies and politics situated within the case studies, and within arboreal heritage itself. Accordingly, the thesis adopts a critical theoretical perspective, informed by various interpretations of Actor Network Theory and Assemblage Theory, and takes a ‘counter-’approach to the authorised heritage discourse introducing a new notion of an ‘unauthorised arboreal heritage discourse’. The thesis introduces alternative examples of arboreal heritage to the contemporary heritage canon paving the way for other forms of heritage that may remain mired in the expectations of the twentieth century’s authorised heritage discourse. In doing so it elevates arboreal heritage as a valid part of physical heritage and a worthy topic for further critical heritage study. The research findings show that in contemporary Aotearoa New Zealand trees have been active in forging links between the past, the present and the future in new and powerful ways transcending the received evaluation methods and establishing a new rhetoric of arboreal indigeneity. Through the lens of tree registers, the research contributes to a better understanding of both natural heritage and heritage in general and, while firmly placed in the New Zealand context, provides a basis for critical heritage studies of related subjects elsewhere. 2 Little has been written about arboreal heritage in Aotearoa New Zealand. As the first academic study of the topic, the thesis fills gaps in academic and professional knowledge of the tree heritage process. It introduces interdisciplinary ideas, from both the sciences and the humanities, and draws attention to tree heritage as a significant historical, social, economic, cultural and environmental contributor to the well-being of New Zealanders. The case studies demonstrate that effective, contemporary stewardship requires a revised ‘tree sense’ that acknowledges that arboreal heritage is founded on complex and various values, meanings and understandings, and is manifest in many different forms. Drawing on the archival, documentary and empirical research undertaken, the thesis proposes a democratisation of arboreal heritage decision-making, and contributes a set of principles to facilitate the negotiation of arboreal heritage acknowledgement and protection by communities, local authorities and heritage practitioners.</p>

scholarly journals Non-Core Business? An examination of university art galleries in New Zealand Aotearoa

2021 ◽  
Author(s):  
◽  
Penelope Baines
Keyword(s):  
New Zealand ◽  
Case Studies ◽  
Academic Goals ◽  
Art Galleries ◽  
Core Business ◽  
Aotearoa New Zealand ◽  
Wide Range ◽  
University Communities ◽  
The University ◽  
Museum Practice

<p>University art galleries are the most common form of campus museum in New Zealand and are increasingly viewed as alternative and innovative interdisciplinary teaching tools. Much of the literature concerning university art galleries discusses the potential of these organisations to act as forums, laboratories and portals for the presentation of diverse ideas within institutions of higher education. Yet these organisations are often overlooked by their parent organisation and considered superfluous to the university’s core business. Despite the ubiquity of university art galleries, little research has been undertaken regarding these organisations within the context of Aotearoa New Zealand. This dissertation explores this issue by examining the ways in which university art galleries have integrated themselves into their university communities.  This dissertation provides a general and concise overview of university art galleries in New Zealand and then presents two in-depth case studies, examining first the Gus Fisher Gallery and then the George Fraser Gallery at the University of Auckland. By utilising a wide range of sources including international and local theoretical literature, interviews, and documentation of public programmes and exhibition histories, these two case studies demonstrate that university art galleries contribute to their parent organisation in a variety of ways. These include serving as an important public interface for the university by showcasing academic and creative scholarship undertaken by the institution’s staff, students, and alumni; acting as a vehicle through which the university can achieve strategic and academic goals and objectives, and assisting the university in fulfilling its duty to act as the “critic and conscience of society”.  This dissertation makes a contribution to museum studies and current museum practice by addressing a gap in the New Zealand literature on this topic. It is the first critical academic analysis of university art galleries in this country situated in relation to British and American theory. In particular, it builds upon and refines Janet Marstine’s argument that university art galleries can lead in the development of the Post-Museum and questions whether Marstine’s theories can apply to the New Zealand context.</p>

scholarly journals Non-Core Business? An examination of university art galleries in New Zealand Aotearoa

2021 ◽  
Author(s):  
◽  
Penelope Baines
Keyword(s):  
New Zealand ◽  
Case Studies ◽  
Academic Goals ◽  
Art Galleries ◽  
Core Business ◽  
Aotearoa New Zealand ◽  
Wide Range ◽  
University Communities ◽  
The University ◽  
Museum Practice

<p>University art galleries are the most common form of campus museum in New Zealand and are increasingly viewed as alternative and innovative interdisciplinary teaching tools. Much of the literature concerning university art galleries discusses the potential of these organisations to act as forums, laboratories and portals for the presentation of diverse ideas within institutions of higher education. Yet these organisations are often overlooked by their parent organisation and considered superfluous to the university’s core business. Despite the ubiquity of university art galleries, little research has been undertaken regarding these organisations within the context of Aotearoa New Zealand. This dissertation explores this issue by examining the ways in which university art galleries have integrated themselves into their university communities.  This dissertation provides a general and concise overview of university art galleries in New Zealand and then presents two in-depth case studies, examining first the Gus Fisher Gallery and then the George Fraser Gallery at the University of Auckland. By utilising a wide range of sources including international and local theoretical literature, interviews, and documentation of public programmes and exhibition histories, these two case studies demonstrate that university art galleries contribute to their parent organisation in a variety of ways. These include serving as an important public interface for the university by showcasing academic and creative scholarship undertaken by the institution’s staff, students, and alumni; acting as a vehicle through which the university can achieve strategic and academic goals and objectives, and assisting the university in fulfilling its duty to act as the “critic and conscience of society”.  This dissertation makes a contribution to museum studies and current museum practice by addressing a gap in the New Zealand literature on this topic. It is the first critical academic analysis of university art galleries in this country situated in relation to British and American theory. In particular, it builds upon and refines Janet Marstine’s argument that university art galleries can lead in the development of the Post-Museum and questions whether Marstine’s theories can apply to the New Zealand context.</p>

scholarly journals Performing Arts Festivals, Festivalization and Global Public Sphere: Locating DNT Performances of India and the Māori Performances of Aotearoa/New Zealand in Post-colonial Asia-Pacific

2021 ◽  
Author(s):  
◽  
Swatibahen Bhatt
Keyword(s):  
New Zealand ◽  
Public Sphere ◽  
Case Studies ◽  
Performing Arts ◽  
Indigenous Communities ◽  
Theoretical Models ◽  
Post Colonial ◽  
Aotearoa New Zealand ◽  
Arts Festivals ◽  
Arts Festival

<p>The project aims at theorising the idea of ‘festivalization’ of the local and global public sphere generated by performing arts festivals. The thesis challenges the concept of ‘festival’ in its popular framework of a celebratory event that is well-planned, culture specific and entertaining. I provide three different study models to accommodate my theoretical conceptualization and discuss the theory in detail in context of selected case studies.  The research also seeks to investigate the politics around (re)presentation of indigeneity through the medium of theatre within various socio-political contexts through case studies from several Indigenous theatre groups located in Oceania and beyond. The project offers detailed discussion of the first two theoretical models developed by me in context of case studies from India and Aotearoa/New Zealand followed by an exploration of the artistic festivals and their implications within and beyond Oceania in context of my third and final study model.  The theoretical models study theatre performances in the contexts of their representation, reception and efficacy within the festival generated space as well as the initiatives of Indigenous communities across the globe to create artistic festivals to celebrate their Indigeneity and authority over Indigenous arts. These two focuses together will locate the reception, representation and (re)production of Indigeneity through the medium of theatre within the festivalized space locally and globally. The third study model finally locates the festival itself within both local and global space to explore its political implications within the socio-political context.  I also aim to investigate the politics behind provisions of ‘space’ and ‘funds’ for the international display of indigeneity through international performing arts festivals; and juxtapose the tourist centred performing arts festival against the festival created by the Indigenous communities through funding generated though ‘donations’ made by local communities. The discussions on this segment is focused on the politics of (mis)presentation of indigeneity through hybrid performances alongside exotic traditional indigenous performances on international stages.  As an Indian citizen, crossing multiple boundaries between the so-called third world, indigenous world and metropolitan culture, I am aware about, respect and acknowledge the Indigenous intellectual and cultural property rights. Being a non-Indigenous researcher working with Indigenous communities, I followed the principles of ‘decolonising methodologies’ (Smith, 1999). I am aware and adhered to the matters including self-determination, cultural aspiration, socio-economic mediation, culturally preferred pedagogy, collective philosophy, extended family structures, respect to Treaty of Waitangi and growing respectful relationships as essential aspects of conducting this research. I have applied collectively chosen pedagogy and philosophy when I conducted the interviews within Indigenous communities and when wrote about them in my thesis.  Indigenous theatre within the context of performing arts festival is a rarely explored area of post-colonial studies which makes the present project significant in itself. The project will document original ideas directly from indigenous theatre practitioners and their experiences of participation in international performing arts festivals. And finally, I believe this study could contribute to a better understanding of the politics of international performing arts festivals in (re) producing indigeneity, distinct from their conventional reception as an exotic 'other' culture.</p>

scholarly journals Paradigms on Indigenous Language Revitalisation: the Case of Te Reo Maori in Aotearoa New Zealand and Mapudungun in Chile

2021 ◽  
Author(s):  
◽  
Carina Gallegos
Keyword(s):  
New Zealand ◽  
Indigenous Knowledge ◽  
Case Studies ◽  
Secondary Data ◽  
Indigenous Languages ◽  
Indigenous Language ◽  
Direct Observations ◽  
Aotearoa New Zealand ◽  
Historical Processes ◽  
Language Revitalisation

<p>The existence of systems of indigenous knowledge depend greatly on the existence of indigenous languages. Processes of language revitalisation seek to uphold indigenous knowledge by restoring endangered indigenous languages. Historical processes of colonisation and globalisation in Chile and Aotearoa New Zealand have impacted and threatened each country's indigenous language. This dissertation describes language revitalisation processes of te reo Maori in Aotearoa New Zealand and Mapudungun in Chile in order to further understand the implications of language on effectively revitalising indigenous culture and knowledge. The research and analysis presented implements comparative methodology through the use of case studies, direct observations, primary and secondary data sources. In an effort to evaluate and compare outcomes of indigenous language revitalisation schemes of te reo Maori in Aotearoa New Zealand and Mapudungun in Chile, this thesis focuses on case studies in the context of how education programmes in each country approach indigenous language revitalisation.</p>

scholarly journals Who watches the watchmen? Evaluating evaluations of El Sistema

2018 ◽  
Vol 35 (3) ◽  
pp. 255-269 ◽  
Author(s):  
Geoffrey Baker ◽  
Anna Bull ◽  
Mark Taylor
Keyword(s):  
New Zealand ◽  
Case Studies ◽  
Social Transformation ◽  
Aotearoa New Zealand ◽  
The World ◽  
El Sistema ◽  
Methodological Problems ◽  
The Way

Within the growing field of publications on El Sistema and Sistema-inspired programmes around the world, a marked divide can be observed between the findings of critical academic studies and commissioned evaluations. Using evaluations of El Sistema in Venezuela and Aotearoa New Zealand as our principal case studies, we argue that this gulf can be explained at least partly by methodological problems in the way that some evaluations are carried out. We conclude that many Sistema evaluations display an alignment with advocacy rather than explorative research, and that the foundation for El Sistema's claims of social transformation is thus weak.

scholarly journals Performing Arts Festivals, Festivalization and Global Public Sphere: Locating DNT Performances of India and the Māori Performances of Aotearoa/New Zealand in Post-colonial Asia-Pacific

2021 ◽  
Author(s):  
◽  
Swatibahen Bhatt
Keyword(s):  
New Zealand ◽  
Public Sphere ◽  
Case Studies ◽  
Performing Arts ◽  
Indigenous Communities ◽  
Theoretical Models ◽  
Post Colonial ◽  
Aotearoa New Zealand ◽  
Arts Festivals ◽  
Arts Festival

<p>The project aims at theorising the idea of ‘festivalization’ of the local and global public sphere generated by performing arts festivals. The thesis challenges the concept of ‘festival’ in its popular framework of a celebratory event that is well-planned, culture specific and entertaining. I provide three different study models to accommodate my theoretical conceptualization and discuss the theory in detail in context of selected case studies.  The research also seeks to investigate the politics around (re)presentation of indigeneity through the medium of theatre within various socio-political contexts through case studies from several Indigenous theatre groups located in Oceania and beyond. The project offers detailed discussion of the first two theoretical models developed by me in context of case studies from India and Aotearoa/New Zealand followed by an exploration of the artistic festivals and their implications within and beyond Oceania in context of my third and final study model.  The theoretical models study theatre performances in the contexts of their representation, reception and efficacy within the festival generated space as well as the initiatives of Indigenous communities across the globe to create artistic festivals to celebrate their Indigeneity and authority over Indigenous arts. These two focuses together will locate the reception, representation and (re)production of Indigeneity through the medium of theatre within the festivalized space locally and globally. The third study model finally locates the festival itself within both local and global space to explore its political implications within the socio-political context.  I also aim to investigate the politics behind provisions of ‘space’ and ‘funds’ for the international display of indigeneity through international performing arts festivals; and juxtapose the tourist centred performing arts festival against the festival created by the Indigenous communities through funding generated though ‘donations’ made by local communities. The discussions on this segment is focused on the politics of (mis)presentation of indigeneity through hybrid performances alongside exotic traditional indigenous performances on international stages.  As an Indian citizen, crossing multiple boundaries between the so-called third world, indigenous world and metropolitan culture, I am aware about, respect and acknowledge the Indigenous intellectual and cultural property rights. Being a non-Indigenous researcher working with Indigenous communities, I followed the principles of ‘decolonising methodologies’ (Smith, 1999). I am aware and adhered to the matters including self-determination, cultural aspiration, socio-economic mediation, culturally preferred pedagogy, collective philosophy, extended family structures, respect to Treaty of Waitangi and growing respectful relationships as essential aspects of conducting this research. I have applied collectively chosen pedagogy and philosophy when I conducted the interviews within Indigenous communities and when wrote about them in my thesis.  Indigenous theatre within the context of performing arts festival is a rarely explored area of post-colonial studies which makes the present project significant in itself. The project will document original ideas directly from indigenous theatre practitioners and their experiences of participation in international performing arts festivals. And finally, I believe this study could contribute to a better understanding of the politics of international performing arts festivals in (re) producing indigeneity, distinct from their conventional reception as an exotic 'other' culture.</p>

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